Program 10

Short film program consisting of MU/T/T/ER, DIVA, and HOME WHEN YOU RETURN

Total running time approx. 77 min.

MU/T/T/ER

At a time when ever-greater numbers of people are bilingual (or trilingual), it’s often the case that the language someone most regularly talks in isn’t the same as the language they think in. A mother tongue precedes any other tongue—the umbilical idiom an individual instinctively falls back on, and the one they feel most at home in. The title of Kondo Heller’s video MU/T/T/ER plays on the word for ‘mother’ in German—a language, like English, with which she is intimately familiar without it always feeling unconditionally, authentically familial. In this video and audio collage, compiled where Heller was living during lockdown, snatches of English and German share the space with remembered or re-discovered Swahili. As a background murmur to all these, a subliminal but ubiquitous resident voice surfaces in the spluttered mutterings and stuttered utterances that are the common parlance of someone living alone. These fragments of inner monologue, mumbled under one’s breath or spoken out loud, are matched to different rooms in the house, as if to echo different facets of the self. A poetic reminder of the patterns and habits of introspection, and the quiet tumult of everyday personal thoughts that reverberate within. (Steven Bode)

Diva

DIVA is a fan letter to Diva Cat Thy, a Vietnamese transwoman, street food vendor, and performer, who openly shares her life and struggles daily on social media. Trying to bridge distances of both geography and language, the French director uses found footage posted online by Diva and her community to get in touch with her. He has never met her, cannot travel to Vietnam due to COVID-19 restrictions, and relies on his boyfriend, an Australian of Vietnamese origins, who helps translate the footage and acts as an intermediary. In a conversation constructed through subtitles and surtitles, the film not only reveals the filmmaker’s adoration for Diva, but also his and his partner’s process of understanding and making meaning of Diva’s life as well as their own in relation to it. Diva’s life, on the streets of Saigon as a transitory street food vendor, online as a social media celebrity, and on stage as a bingo singer and circus performer, is interwoven with the processes of looking at (or watching) her and of translation, as well as with a reflection about queer identity, distance, intimacy, and incoherent histories. DIVA is a fleeting moment in a woman’s life, one that promises to reach out to a wider queer and solidarity community, blurring the spheres of the online and the real.

Home When You Return

A double exposure, a portrait of a body, a house that oscillates between its narrative past and its literal presence. The melodramatic, 1950s films of amateur filmmaker Joan Thurber Baldwin are psychically projected onto the house in which my grandmother raised seven kids as it is cleaned out and put up for sale after she passed away. Upholding the narrative structures of melodrama that often center around men, even when the films are about women, the film asks the viewer, as Thurber says in her introduction, to pay attention to the peripheries. (Carl Elsaesser)